Issue 4_Multiple and multiple-language versions / Versions multiples

Edited by / Sous la direction de Nataša Ďurovičová

With the collaboration of / Avec la collaboration de Hans-Michael Bock

This issue collect the MAGIS – I Gradisca International Film Studies Spring School proceedings. The contributions can be divided into two broad groups. One takes as its implicit assignment Sorlin’s set of questions: what can be identified, historical- ly, as the common element(s) for a cluster of films so that they can qualify as “versions” of each other? In other words, exactly what were the procedures and/or textual elements that could be duplicated economically and practically (and thus copied “autographically”), and which were instead the elements in need of local modification, that is, elements seen as the required signals of national difference (i.e. “allographic” elements of non-identity)?

The other set of papers extrapolates from this research to ask: what can we learn from the interaction between LVs and the historiographic category they most apparently challenge, that of the national cinema(s)? And in extension of this, is there (not) a line to be drawn between the type of seriality deployed in the Hollywood-made “foreign” versions (FLVs) and the “multilingual” versions made in Europe (MLVs)?

Nataša Ďurovičová, Introduction

Pierre Sorlin, Multilingual Films, or What we Know about a Seemingly Bright Idea